The title of this open call is taken from a letter by Chris Marker, where he writes: “Contrary to what people say, the use of the first person in films tends to be a sign of humility: all I have to offer is myself” (1999). We seek to rediscover filmmaking as a language of introspection.

For this edition we welcome short films that expand on the uses of the First Person, where the author is no longer relegated to obscurity but exposed as a site for social reflection. A pulling of the curtain that reveals to the audience the spirit behind what they are watching.

When delving into these kinds of films, a comparison between the camera and the pen is imminent. These are tools we use to make sense of our lives—to appreciate, remember, and imagine—beyond the margins of what the eye can see. Agnès Varda, known for her colorful and personal films, proposes the term cinécriture to describe this relation. For this program, we ask: How can writing evoke the impression of a film? Or, how can a film follow the logic of writing? While each medium bears its own rules and rhythms, we encourage makers to borrow, err, and stretch the boundaries between these parallel tools. 

29/10 
LAB111

This edition brings together s

hort films in which space and setting become active narrative agents.

Glass, Concrete and Stone borrows its title from the David Byrne song to probe the dissonance between architecture as physical fact and as emotional territory - the difference between a house and a home.

To extract a narrative from a space is impossible without implicating the space itself. This program comprises short films which shift the focus toward the textures of built environments, those that shape, absorb, and refract our experiences, ultimately arriving at the drama of reframing the chamber: 
Works that let architecture remember, speak, and rupture.

HET PAROOL2025- 03/07 
LAB111